Genre: Concertos

At this point, it would only be fair to call Dutch composer and conductor Johan de Meij “the Dutch King of program music.” Widely known to audiences for his 1988 Symphony No. 1 The Lord of the Rings, De Meij now presents CASANOVA, the complete recording of his compositions and transcriptions for cello and wind orchestra. Like the majority of De Meij’s oeuvre, the works on CASANOVA are committed to a late Romantic aesthetic: frequently citing Rachmaninoff, Debussy, or Puccini, and intended to conjure specific imagery. The resulting music is soothing, colorful, and pleasing to the ear.

Following their 2023 United Kingdom Remembrance tour, The Syracuse University Wind Ensemble returns to the airwaves with two world premiere recordings on ANGELS RISING: MUSIC OF REMEMBRANCE AND LIGHT. The ensemble has commissioned dozens of new works for their genre, the two most recent being Frank Ticheli’s Angels Rising and Energy and Light by Syracuse’s own Natalie Draper, both of which commemorate the 35 Syracuse University students lost in the 1988 Lockerbie bombings. Draper and Ticheli’s tributes to the 270 total lives lost in the attack on Pan Am Flight 103 are bookended by performances of George Gershwin’s An American in Paris and Rhapsody in Blue in this Navona Records release, and are all available to experience in both stereo and Dolby Atmos immersive audio formats.

Accomplished Brazilian pianist Eliane Rodrigues interprets Chopin with a highly combustible melange of precision, expressiveness and dynamism on her newest release, DREAMSCAPE. With her trademark crystal-clear tone and larger-than-life interpretation, Rodrigues brings Late-Romantic grandeur to the Romantic composer. The juxtaposition of Chopin's Piano Concerto No. 2 with his famous Préludes op. 28 impressively highlights one of the greatest strengths of Rodrigues: her ability to coax orchestral colors from seemingly straightforward solo piano pieces. The shades and hues she manages to produce unveil an entirely new facet of the Polish composer's works: a sense of spatial vastness and exuberance.

FELT, METAL, WOOD, featuring John Mackey’s Concerto for Soprano Saxophone, is a thorough exploration into the many expressive and technical facets of the Saxophone. Mackey, who has garnered widespread critical acclaim as one of today’s leading composers, notes that the saxophone is a hybrid instrument; it is essentially a brass instrument with a woodwind reed. With that in mind, Mackey composed this concerto by focusing several movements on unique characteristics of the instrument.  After the prelude comes “Felt,” a movement focused on the keys of the instrument and all the ways a player can use them as an interface. “Metal,” the third movement, demonstrates the saxophone’s soaring range in a lyrical, introspective manner, while “Wood,” a tango highlighting the saxophone’s strengths in an intimate setting, transitions to an exhilarating display of virtuosity in the “Finale.” Performed by saxophonist Stephen Page and pianist Liz Ames, Mackey stirs a greater appreciation for the versatile instrument in this release.

Jennifer Bouton’s VIVALDI PICCOLO CONCERTOS is the first complete recording of the concerti by an American piccoloist. Bouton possesses a mastery over these works, having performed the most famous and beloved C Major concerto (RV 443) numerous times, notably with the Milwaukee Symphony and Nicholas McGegan in 2023. In recording the complete set of works for sopranino/flautino on the modern piccolo, Bouton aims to expand the standard canon of solo piccolo repertoire, and encourage modern performers to investigate the possibilities of ornamentation that live in each of these sparkling compositions. Expressive, light hearted, technically elaborate, and strikingly beautiful, this collection of works is a stunning showcase of Vivaldi’s colorful concerti, concluding with an exhilarating performance of Paganini’s Caprice No. 11 in C Major to round out the program.

The violin concerto is a challenging setup to write for: it beckons with promises of both might and fragility. Composer Christopher Alan Schmitz is well-versed in both the theoretical and practical aspects of composition: his resulting VIOLIN CONCERTO AND SYMPHONY NO. 1 gets the balance just right. The tonal language is reminiscent of Bruckner and Mahler, as raw emotion mixes with splendor. The ultimate success of this precarious, heady concoction rests on the shoulders of conductor Stefan Sanderling and particularly, violinist Amy Schwarz Moretti, member of the acclaimed Ehnes Quartet. Stirringly written and performed to perfection, a success it is.

Renowned composer Gustav Hoyer comes to Navona Records with an ambitious and harrowing seven-part orchestral setting of Samuel Taylor Coleridge’s THE RIME OF THE ANCIENT MARINER. Hoyer melds the spoken word and musical text-setting traditions into a hauntingly atmospheric narrative concerto, the Budapest Film Orchestra coming to life as supernatural forces and creatures in the text. Meanwhile, the narrator speaks of the Mariner’s eternal penance, a stark contrast to the roiling orchestral timbres that puts listeners in the shoes of the frightened wedding guest fated to hear the Mariner’s tale. An undoubtedly ghoulish but incredibly sophisticated musical illustration of Coleridge’s famed narrative, Hoyer is no-holds-barred in his talent for the narrative orchestra, producing a musical journey packed with all the intensity and horror of the text from which it hails.

Produced with audio captured from two live concerts held at Merrill Auditorium in Portland ME, the Portland Symphony Orchestra presents a world-class recording featuring works by three living Mexican composers on MÁSCARAS. The PSO makes their opening statement with a newly-revised version of Enrico Chapela’s 2017 work Rotor, an intense rhythmic etude, followed by Arturo Márquez’s Máscaras, a concerto for harp and orchestra inspired by ancient pre-Hispanic Mexican tradition. Ángeles de Llama y Hielo by Ana Lara follows suit, a nod to a 16th century German woodcut print and the cosmological philosophy that inspired it. Polished, authentic, and strong, the performances on MÁSCARAS reflect the Portland Symphony Orchestra’s rich musical energy and commitment to ever broadening its horizons.

Composer Vincent Kennedy and the RTÉ Concert Orchestra bring MUSIC OF PEOPLE AND PLACE to Navona Records. Selected from some of his most beloved works and inspired by the people, mysticism, mythology, history, and landscapes of his native Ireland, this album is a rich collection of 19 stories, each appealing to the human spirit with sublime performances by the superb musicians of the RTÉ Concert Orchestra.

There is something very special about the symbiosis of a great composer and a talented performing musician: many of the great moments in musical history were born of such collaborations. This rare joy is now to be felt in our time: JOE’S TANGO features the world premiere recording Concerto for Trombone by none other than jazz legend Chick Corea, tailor-made for virtuoso solo trombonist Joseph Alessi. It's a riveting, marvelous work — classical in scope, but contemporary in rhythm and feeling. Conductor Thomas G. Leslie, his University of Nevada Las Vegas Wind Orchestra, and the Boston Brass Quintet empathetically frame this centerpiece with works by Hugo Montenegro and the young Jorge Machain, who offers the world premiere recording of his Five Cities to the mix. The resulting album — as one might expect — is altogether outstanding.

WALTON & BARBER from famed British violinist Thomas Bowes celebrates the works of two early 20th century composers, William Walton and Samuel Barber. The album includes Walton’s Concerto for Violin and Orchestra and Two Pieces for Strings from Henry V, as well as Barber’s Concerto for Violin and Orchestra op. 14 and the touchstone Adagio for Strings op. 11. Throughout the album, Bowes’ breathtaking virtuosity is on full display. His playing, which has been characterized by Gramophone Magazine as “deeply human” and “unusually communicative,” teases out subtleties and rises to the challenge of the most technically-demanding passages. With the violin at centerstage, WALTON & BARBER brings the full power of the orchestra to bear.

Dynamic pianistic playfulness and impressive orchestral sonority shine in PLETER from Croatian pianist and composer Matej Meštrović. The composer’s personal signature can be heard throughout the piece, equal parts majestic and jubilant with subtly suspenseful moments that cascade into grandiose beauty. An eclectic and versatile composer, Meštrović joins the acclaimed London Symphony Orchestra on this recording, unearthing immeasurable melodic, harmonic, and rhythmic opulence as both the composer and the featured pianist.

On FIGHT FOR LIGHT, Dutch composer Jesse Passenier explores the peripheries of jazz and classical, marrying the two genres together through symphonic music. The music presents a struggle for strength, goodness, and clarity, in which moments for great energy and urgency give way to quiet purity. Containing three works by Passenier: Piano Concerto No. 1 "Levensdrift” (a Dutch word meaning “the primal urge to live”); Vibraphone & Marimba Concerto No. 1 "Becoming the Colour"; and Duo for Vibraphone & Piano “Unraveling Confusion,” these pieces taken together as a whole reveal Passenier’s breadth as a composer, offering a musical commentary on the realities we face in today’s society.

Internationally-renowned Serbian-Austrian classical accordionist Jovica Ivanović has released his newest album — PIAZZOLLA & GALLIANO — with Navona Records. The program features concertos from Astor Piazzolla and Richard Galliano, both legends in their own rights. Recorded with the Ukrainian Chamber Orchestra, Ivanović’s performances bring these masterworks to life with persuasive passion.

Jan Järvlepp's first Navona release, CONCERTO 2000, presents a tonal concerto, scored for orchestra – one might think Wagner or Mahler when listening. Except that Wagner and Mahler might not quite have agreed with the directness of his tonal language: for Järvlepp's work unabashedly aspires to appeal on a popular level.

The creation of VIOLIN CONCERTO by Alicia Terzian marked the beginning of her 65-year (and counting) compositional career. Originally composed in 1954/55, this important piece of her repertoire was brought to life thanks to a collaboration between Navona Records and the Siberian State Symphony Orchestra. This album also features Terzian's Three Pieces, which listeners can remember from their previous Navona release, OFF THE EDGE.

It is tempting to compare Matej Meštrović's compositional style to his great predecessors in the late-Romantic tradition. After all, much of the Croatian composer's style and techniques would be right at home in Rachmaninoff’s concertos, Tchaikovsky's works, or Prokofiev's neoclassicism; and the name of the album's first work, Danube Rhapsody, naturally evokes associations with Smetana's similarly river-themed Vltava. Add to all of this that Meštrović, like most of his great musical ancestors, is a talented virtuoso pianist, and it's easy to see why 3 RHAPSODIES is bound to meet with enthusiasm.

PARMA Recordings, together with the esteemed Croatian Chamber Orchestra, is proud to release BENEATH THE TIDE, a reflection on human emotion and experience through a collection of five concertos. As the title suggests, BENEATH THE TIDE looks under the surface, examining underlying human realities that rise to the surface with the arrival of life’s changes.

Composer/Performer John Alan Rose presents INEFFABLE TALES, an album of four of his ensemble compositions, recorded at Reduta Hall in Olomouc, Czech Republic. In addition to renowned soloists Jungwon Choi (cello), Moni Simeonov (violin), the recording features the composer’s wife Sing Rose (soprano), and the composer himself (piano). The album also features the Moravian Philharmonic, under the direction of Miran Vaupotić.

In this stunning tour through the concerti of Beethoven’s early and middle periods, pianist Eliane Rodrigues captivates her listeners with graceful keyboard virtuosity, accompanied by the renowned St. Petersburg State Orchestra, Maestro Walter Proost at the podium. The technicality is so precise, the performance so true to period, that one might think the composer himself was at the piano.